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Master's Dissertation
DOI
10.11606/D.16.2016.tde-07032016-143624
Document
Author
Full name
Amanda Ruth Dafoe de Aguiar
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2015
Supervisor
Committee
Mazzilli, Clice de Toledo Sanjar (President)
Suzuki, Marcelo
Wisnik, Guilherme Teixeira
Title in Portuguese
Lina Bo Bardi e a atualidade do cavalete de cristal
Keywords in Portuguese
Curadoria
Design
Identidade cultural
Instituições culturais
Lina Bo Bardi
Museografia
Museus de arte
Abstract in Portuguese
Este projeto busca analisar o Cavalete de Cristal, aparato expositivo criado no fim da década de 1950 pela arquiteta ítalo-brasileira Lina Bo Bardi para ser a peça central da composição da expografia do Museu de Arte de São Paulo, o MASP. A pesquisa evidenciará que o design dessa peça - a partir da solução espacial para a qual foi planejada e do discurso curatorial nela embutido - criou uma gramática expográfica singular que, mesmo após sua extinção em 1996, ainda reverbera de maneira potente em discussões internacionais sobre os desafios da apresentação da arte em museus na atualidade. Esta pesquisa reflete a necessidade de se voltar o olhar para a proposta de Lina Bo Bardi, evidenciando a validade de uma retomada do projeto original desse museu como forma de recuperar um espaço de vivência cultural fundamental da cidade de São Paulo - que, como poucos, nasceu de um profundo entendimento das especificidades da cultura brasileira.
Title in English
Lina Bo Bardi and the topicality of the Cristal Easel
Keywords in English
Art museums
Cultural institutions
Cultural identity
Curatorship
Design
Lina Bo Bardi
Museography
Abstract in English
This project undertakes an analysis of the Crystal Easel, exhibition apparatus created in the late 1950s by the Italian-Brazilian architect Lina Bo Bardi as the central element in the expographic composition of the Museu de Arte de São Paulo, MASP. Taking the spatial solution for which the apparatus was planned and the curatorial discourse embedded in it as starting point, the study will show that the design of this object created a singular expographic grammar that, even after its extinction in 1996, continues to reverberate forcefully in international discussions about the challenges of displaying art in museums today. This research relects the need to turn our attention to Lina Bo Bardi's proposal, evidencing the validity of resuming the museum's original proposal as a way to recover a fundamental space for cultural experience in the city of São Paulo - a museum which, like few others, was born of a deep understanding of the particularities of Brazilian culture.
 
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Publishing Date
2016-03-09
 
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